IRVING BERLIN New York GeniusBy James Kaplan Sometimes the hypersophisticated tunesmiths hail from small-town Peru, Ind.
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The Hall of Fame has genius inventors and generals and tunesmiths, as well as Walt Whitman, Henry Wadsworth Longfellow and Sidney Lanier.
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Though embarrassed by the album, Bowie was quite up front about naming novelty tunesmiths like Tiny Tim and George Formby as being among his biggest influences.
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The rise of Napster, Gnutella, and other file-sharing services had put the fear of God into tunesmiths, but when it comes down to it, the party was still going strong around this time.
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Home for a Christmas visit the year before, he participated in a songwriting camp there, and he was separately paired with Chris DeStefano and Ashley Gorley, the event's superstar tunesmiths who'd been imported from Nashville.
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Primarily a collection of her springlike songs, with lyrics in English or Spanish, it also features an instructive choice of covers — by the Chilean artist-activist Víctor Jara, the Brazilian pop star Djavan, and the wily American tunesmiths Stephen Sondheim and Jon Brion.
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Future uses lots of Auto-Tune, and circa Pluto, his major-label debut, he had perfected a tight, shiny brand of hip-hop significantly deeper and more joyful than anything previous Auto-Tunesmiths had put their names on; Pluto alternated upbeat club bangers and warped, moving love songs in rapid succession to construct a sleek, aerodynamic pop-rap vehicle.
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The tune-books of Billings and other Yankee tunesmiths were widely sold by itinerant singing-school teachers. The song texts were predominantly drawn from English metrical psalms, particularly those of Isaac Watts. All of the publications of these tunesmiths (also called "First New England School") were essentially hymnals. In 1801 the tunebook market was greatly expanded by the invention of shape notes, which made it easier to learn how to read music.
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Yankee tunesmiths (also called the First New England School) were self-taught composers active in New England from 1770 until about 1810. Their music was largely forgotten when the Better Music Movement turned musical tastes towards Europe, as in Thomas Hastings's 1822 Dissertation on Musical Taste and other works. The principal tunesmiths were William Billings, Supply Belcher, Daniel Read, Oliver Holden, Justin Morgan, Andrew Law, Timothy Swan, Jacob Kimball Jr., Lewis Edson, and Jeremiah Ingalls.Lowens, Irving (1964).
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Saletan also recorded Songs and Sounds of the Sea (National Geographic Society 1973), Revolutionary Tea (with the Yankee Tunesmiths, Old North Bridge Records 1975), and George & Ruth (songs of the Spanish Civil War, Educational Alternatives 2004).
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"The case of THE TORTURED TUNESMITHS (or Quick, Watson—the music!)". Maclean's Magazine, Richard Gehman April 3, 1965 they moved to New York City, where the show ran more than 300 performances and received mixed reviews.Ethan Mordden.
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Urban Cowboy is a musical with a book by Aaron Latham and Phillip Oesterman and a score by Broadway composer-lyricists Jeff Blumenkrantz and Jason Robert Brown and a variety of country music tunesmiths, including Clint Black and Charlie Daniels.
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"(What Do We Do on a) Dew-Dew-Dewey Day" was a popular song dating from 1927. It was recorded by Clyde Doerr and his Orchestra. The song is a Fox Trot which contains a vocal refrain, hence the unconventional length of the record (4 minutes, 2 seconds). It was written by Tin Pan Alley tunesmiths Al Sherman, Howard Johnson and Charles Tobias.
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Shape note singers who have kept this music alive to the present day sometimes use the term "Yankee tunesmiths", as did academic musicologists such as H. Wiley Hitchcock (1966). Other scholars working from a classical music perspective worked backwards, beginning with research into the Boston Classicists ( "Boston Six") of the late-19th and early-20th centuries, who were first defined as a "school" in 1966, then Hitchcock explicitly defined as this group as the "Second New England School" in 1969, generating the term "First New England School" as a by-product. The Yankee tunesmiths were definitely not a "school": all were self taught, scattered across New England, and did not share common publishers or affiliations. All were craftsmen who worked part-time as itinerant singing school teachers, which gave them opportunities to sell their self-published tune books.
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In 1991, he released his first solo album, Wild in the Backyard, which was engineered and produced by Ray Kennedy. The album's music was favorably compared to the music of Randy Newman. The album was also named one of Billboards top 10 records of 1991. Writing in Entertainment Weekly, Alanna Nash gave the album a B+ grade and described Henry as "One of Nashville’s best young tunesmiths".
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In 1951, his song "Let's Live a Little" was a big hit, reaching number two on the Billboard country chart. During 1951, he had three other hits, including "If the Teardrops Were Pennies" and his first number-one hit, "Let Old Mother Nature Have Her Way". The songs made Smith a well-known name in country music. His band, the Tunesmiths, featured steel guitarist Johnny Silbert, who added an element of Western swing.
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Jacob French (July 15, 1754 – May 1817)American Writers and Compilers of Sacred Music By Frank J. Metcalf , Published 2007 By READ BOOKS was a singing master and one of the first American composers, sometimes called Yankee tunesmiths. "A student of William Billings, French adopted Billings' innovative approach to psalmody ... His music tends to be more complex in its structure, rhythm, and counterpoint than most of his contemporaries."Jones, Daniel C. L., Editor. 1998. Jacob French (1754-1817): The Collected Works.
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Melody Maker called Lombardo "one of the very great tunesmiths and guitarists of our age", and the Pittsburgh Post-Gazette wrote that he is "a fine songwriter whose adeptness at illustrating quiet desperation and rustic spirituality becomes more apparent with each listen". Lombardo continues to perform regularly with John & Mary and has rejoined 10,000 Maniacs as a touring member, contributing to their 2015 album Twice Told Tales, performing on their 2016 live album Playing Favorites, and playing regular gigs with the band.
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The background music score and soundtrack were composed by A. R. Rahman. The soundtrack features nine songs composed by Rahman, with lyrics written by Vaali, Vairamuthu and director Shankar who penned the "Pettai Rap" number. The Choreographers were Sundaram - Mugur Sundar and Raju Sundaram. The song Mukkabla became popular and was plagiarised freely by tunesmiths and nearly a dozen versions of the song were churned out, a feat that earned Mukkabla and Rahman a place in the Limca Book of Records.
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Aside from playing piano on "Daydream Believer", he did not participate in the making of the record at all. Veteran Monkees tunesmiths Boyce and Hart returned to the fold to contribute the psychedelic "P.O. Box 9847", as well as a new version of "Valleri." The rare U.S. mono album (COM-109) was released in a limited quantity, as mono albums were being phased out by 1968, and has become a highly sought item for its unique mixes that differ from the common stereo versions.
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At First Sight, Violets Are Blue was released in 1987, their first recording for The White Label. The album debuted at No. 1 on the Australian alternative charts and 34 on the mainstream charts. It also received national and international critical acclaim and would be one of the best selling Australian albums of that year, despite the lack of commercial airplay in the corporate FM dominated '80s. Leaning toward a stronger pop sensibility, the album highlighted the talents of Dom Mariani and Richard Lane as skilled tunesmiths of the guitar pop genre.
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Carnival Ride is the second studio album by American country music recording artist Carrie Underwood. It was released in the United States on October 23, 2007, by Arista Nashville. On this album, Underwood was more involved in the songwriting process; she set up a writers' retreat at Nashville's famed Ryman Auditorium to collaborate with such Music Row tunesmiths as Hillary Lindsey, Craig Wiseman, Rivers Rutherford, and Gordie Sampson. Carnival Ride debuted at number one on the US Billboard 200 chart, selling over 527,000 copies and achieving one of the biggest ever first-week sales by a female artist.
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Following her musical career, Wain worked with Baruch as a husband-and-wife disc jockey team in New York on WMCA, where they were billed as "Mr. and Mrs. Music". An article in the May 1945 issue of Radio Best magazine noted, "In the trade she is looked upon as an accurate picker of hits and is a favorite song plugger of tunesmiths like Cole Porter, Johnny Mercer, Harold Arlen and Harry Warren." In 1973, the couple moved to Palm Beach, Florida, where for nine years they had a top-rated daily four-hour talk show from 2 p.m.
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Songwriting for Augie March is primarily initiated by Richards; he delivers demos to the rest of the band members who then collaborate with him to develop the music. Kathy McCabe of The Daily Telegraph suggests "almost every songwriter in Australia has name-checked [Richards] as one of the finest tunesmiths of his generation" and that "Richards is a storyteller who is spoken of in reverential terms by peers". Richards simply states that he enjoys "dabbling with words", and that people often appreciate him doing so. Despite this, Richards rejects the "literary" reputation he believes the band have gained.
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They also were in the original stage production of Woody Guthrie's Bound for Glory and at the Fox Hollow Folk Festival in Petersburgh, New York. Irene and her former husband Anthony D. ("Tony") Saletan performed together, during their marriage, as Tony and Irene Saletan. They released an album together, Folk Songs and Ballads, in 1970 on Folk-Legacy Records. Irene and Tony also released a seven-inch vinyl recording of four songs for the Boston Mutual Life Insurance Company, titled The Ballad of Boston and Other New England Folk Tunes, and Revolutionary Tea (with Irene listed as one of the Yankee Tunesmiths), on Old North Bridge Records, 1975.
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The Romantics' original lineup consisted of lead vocalist, rhythm guitarist, and harmonicist Wally Palmar, lead guitarist and vocalist Mike Skill, bassist and backing vocalist Rich Cole, and drummer and lead vocalist Jimmy Marinos. All four band members made songwriting contributions to the group, but Palmar and Skill were considered the band's primary tunesmiths. For three years the band was on the road, playing in East Coast and Midwestern venues like Boston's Rathskeller, CBGB in New York's Bowery, Manhattan's Max's Kansas City, and Cleveland's Agora. They were subsequently signed to Nat Weiss' Nemperor record label after a show at Hurrahs, and in September 1979, the band recorded their debut self-titled album with British producer Pete Solley.
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"Now's The Time To Fall In Love" is a song from the Depression era written by Tin Pan Alley tunesmiths, Al Sherman and Al Lewis. The song was made popular by Eddie Cantor on his weekly radio show. The song takes a positive attitude toward the plummeting prices of storebought items in financially depressed America of the 1930s: The song was used in the popular 1953 motion picture about Eddie Cantor's life, The Eddie Cantor Story. It is referenced in the 1962 Academy Award-nominated Disney animated short musical film A Symposium on Popular Songs during the song, "Although I Dropped $100,000", written by Al Sherman's songwriter sons, Robert and Richard Sherman.
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The unorthodox harmonic idiom of the Yankee tunesmiths ("First New England School") of choral composers shows the influence of English composers such as Tans'ur and Aaron Williams: > For the most part the Yankee composer's source of information about harmonic > practices derived from the music and writings on music of such comparatively > unskilled English composers as William Tans'ur (1706-1783) and Aaron > Williams (1731-1776), who were themselves somewhat outside the mainstream of > European sacred music. Many of the traits that may be thought unique to > American psalmodists in fact characterize the compositions of their British > cousins too.S.E. Murray, "Timothy Swan and Yankee Psalmody," The Musical > Quarterly 61 (1975), pp. 433-463, p. 455.
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A portrait of Supply Belcher, executed during his lifetime Supply Belcher (March 29, 1751 – June 9, 1836) was an American composer, singer, and compiler of tune books. He was one of the so-called Yankee tunesmiths or First New England School, a group of mostly self-taught composers who created sacred vocal music for local choirs. He was active first in Lexington, Massachusetts, then eventually moved to Farmington, Maine. Like most of his colleagues, Belcher could not make music his main occupation, and worked as tax assessor, schoolmaster, town clerk, and so on; nevertheless he was considerably well known for his musical activities, and even dubbed 'the Handell [sic] of Maine' by a local newspaper.
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The self-taught Yankee tunesmiths learned composition from composers of West gallery music such as William Tans'ur's A New Musical Grammar' (1746) and Aaron Williams. Their books were issued by Daniel Bayley in Newburyport, Massachusetts in 1769, 1771, 1773 and 1774 under the title The American Harmony, or Universal Psalmodist 1769, 1771, 1773 and 1774). > For the most part the Yankee composer's source of information about harmonic > practices derived from the music and writings on music of such comparatively > unskilled English composers as William Tans'ur (1706-1783) and Aaron > Williams (1731-1776), who were themselves somewhat outside the mainstream of > European sacred music. Many of the traits that may be thought unique to > American psalmodists in fact characterize the compositions of their British > cousins too.
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Read, along with his contemporaries William Billings, Oliver Holden, Supply Belcher, and Justin Morgan, was one of the primary members of a group of American composers called the Yankee tunesmiths or the First New England School. While the classical music era was in its heyday in Europe, American composers of "serious" music were setting hymn tunes in three- and four-part a cappella style, with simple folklike melodies and little regard for functional harmony. Many of these works were fuguing tunes, which begin with all voices singing together (with a melody usually based on a Protestant hymn), come to a stop, and continue with each voice entering one at a time. Nearly all were hymn tunes, developed for the use of the newly-forming singing societies.
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Folksinger Peggy Seeger was also taught several songs by Saletan, which she later recorded. Saletan went on to host a public television series for children, Let's All Sing with Tony Saletan, with an associated album mostly drawn from American folksongs, including those discovered and developed for teaching young Villagers. In 1970, he released an album, Tony and Irene Saletan: Folk Songs and Ballads with his then-wife, Irene (formerly and subsequently of the Kossoy Sisters), on Folk-Legacy Records. Saletan also released the albums I'm a Stranger Here on Prestige Records (1961 or 1962),Jazz Discography Project Song Bag with Tony Saletan and an associated teacher's guide and songbook, Songs and Sounds of the Sea (National Geographic Society 1973), Revolutionary Tea (with the Yankee Tunesmiths, Old North Bridge Records 1975), and George & Ruth (songs of the Spanish Civil War, Educational Alternatives 2004).
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